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Updated: May 1, 2025
In the Pretre marie, Barbey d'Aurevilly sang the praises of Christ, who had prevailed against temptations; in the Diaboliques, the author succumbed to the Devil, whom he celebrated; then appeared sadism, that bastard of Catholicism, which through the centuries religion has relentlessly pursued with its exorcisms and stakes.
It is true that the latter was too prone to compromise and not sufficiently docile. Others bent their heads under rebukes and returned to the ranks; but he was the enfant terrible, and was unrecognized by the party. In a literary way, he pursued women whom he dragged into the sanctuary. Two works of Barbey d'Aurevilly specially attracted Des Esseintes, the Pretre marie and the Diaboliques.
His style has the rapidity and precision of the long-range arms which have dethroned the bayonet. He would have been a writer anywhere. He was a writer by nature. He was of that sacred phalanx of those who have a style all to themselves." Barbey d'Aurevilly rebels against tedious technicalities.
Saltus informs me, a reviewer, "who contrived to be both amusing and complimentary," said that Barbey d'Aurevilly was a fictitious person and that this vile story was Saltus's own vile work! "Mary Magdalen," on the whole disappointing, is nevertheless one of the important Saltus opera.
He cried out to the sky, invoked Lucifer, shouted his contempt of God, calling Him rogue and imbecile, spat upon the communion, endeavored to contaminate with vile ordures a Divinity who he prayed might damn him, the while he declared, to defy Him the more, that He did not exist. Barbey d'Aurevilly approached this psychic state.
Yesterday I found, in a volume of dramatic criticism by that terrible and charming Jules Barbey d'Aurevilly, an appreciation of one of your comedies which bears a title very appropriate to yourself: 'Honor. "And this play does him honor," said Barbey d'Aurevilly, "because it is charming, light, and supple, written in flowing verse, the correctness of which does not rob it of its grace."
It is not hard to see how, in the effort to give Mr. Brummell his due place in history, Monsieur D'Aurevilly came to grief. It is but strange that he should have fallen into a rather obvious trap. Surely he should have perceived that, so long as Civilisation compels her children to wear clothes, the thoughtless multitude will never acknowledge dandyism to be an art.
The triumphant chorus of Rops's admirers comprises the most critical names in France and Italy: Barbey d'Aurevilly, J.K. Huysmans, Pradelle, Joséphin Péladan once the Sâr of Babylonian fame Eugène Demolder, Emile Verhaeren, the Belgian poet; Camille Lemonnier, Champsaur, Arsène Alexandre, Fromentin, Vittorio Pica, De Hérédia, Mallarmé, Octave Uzanne, Octave Mirbeau, the biographer Ramiro and Charles Baudelaire.
Daffinger's miniature of her, painted when she was thirty, represents her as abundantly endowed by nature; and Gigoux' pastel of 1852, which is less faithful and shows her considerably older, still gives substantially the portrait that Barbey d'Aurevilly sketched of her after Balzac's death: "She was of imposing and noble beauty, somewhat massive," says this writer.
Fighting with the pen was carried to a point of skill previously unattained. Grouped round the Debats the ministerial organ were Silvestre de Sacy, Saint-Marc Girardin, and Jules Janin as leaders, and John Lemoinne, Philarete Chasles, Barbey d'Aurevilly in the rank and file.
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